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A palace is a grand residence, especially a royal residence, or the home of a head of state or some other high-ranking dignitary, such as a bishop or archbishop. The word is derived from the Latin name palātium, for Palatine Hill in Rome which housed the Imperial residences. Most European languages have a version of the term (palais, palazzo, palacio, etc.), and many use it for a wider range of buildings than English. In many parts of Europe, the equivalent term is also applied to large private houses in cities, especially of the aristocracy, for example the Italian palazzo; often the term for a large country house is different. Many historic palaces are now put to other uses such as parliaments, museums, hotels, or office buildings. The word is also sometimes used to describe a lavishly ornate building used for public entertainment or exhibitions such as a movie palace. A palace is normally distinguished from a castle in that the

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Palazzo in Villa

Patrick Pregesbauer

A Vienne au XVIIe siècle, le “Palazzo in Villa”, palais suburbain entouré d’un jardin, était la base d’une architecture qui essayait d’imiter l’idéal italien de vie rurale. L’architecture, la relation à la ville et à l’urbain ainsi que le style de vie qui se développait à l’intérieur de ces palais étaient basés sur un consensus culturel, social et économique particulier: “la villegiatura”. A travers la relecture autrichienne de ce modèle, l’entité macro-économique des vastes “villae suburbanae” était transposée de la campagne à la ville et, par conséquent, confrontée à des problématiques urbaines. Cette immédiate juxtaposition rendait la ville plus urbaine que jamais. Les mécaniques spatiales d’une réalité construite des fragments d’une ruralité emballés dans une enveloppe métropolitaine pourraient servir à une population urbaine qui essaie de faire renaître l’existence hégémonique de l’urbain et du rural. Si l’on considère la monumentalité et l’autonomie de la villa, et non le cliché du style, cela peut offrir un modèle spatial et ainsi donner un nouveau sens et une centralité à une communauté grandissante de la périphérie viennoise. Dans ce projet, le «Palazzo in Villa» devient une résidence pour personnes âgées et une école maternelle qui servent de machine urbaine à évasion pour les habitants de la métropole qui vivent en communauté, produisent et partagent en retraite.

2018

Du palais génois à la Renaissance italienne (1550-1620)

Marie-Pierre Zufferey

The city of Genova possesses an exceptional architectural ensemble, a street lined with palaces constructed between Mannerism and Baroque known as the Strada Nuova (presently via Garibaldi). The painter and ambassador Pierre Paul Rubens was so strongly impressed by it that he made it into a book in 1622. Strada Maggior, Via Aurea, Rue des Rois, as named by Madame de Staël, one of the most beautiful streets in the world according to Stendhal, the Strada Nuova has attracted the eyes of travellers, writers, artists and architects ; its palaces have been the object of important studies from 1622 (Rubens) to 1967 (University of Genoa) relayed by those of the French Martin-Pierre Gauthier in 1818 and the German Robert Reinhardt in 1886. Still standing in 1992, the Genoese palaces have been only partly studied and are far less recognized than in the past. Following a brief introduction concerning the geographical and historical situation as well the urban development of Genova, the object is to present the characteristics of the Genoese palace by means of series of plates, drawn according to a long tradition in which drawing becomes the tool of analysis, interpretation and communication. The twelve palaces (of which ten border the Strada Nuova and two the via Balbi) are made up into plates. They are drawn at the same scale and include for each the ground floor, the first level, the façade and the two principal sections, representing their original state and their transformations carried out over the years. Through the study of the palaces' delineations, from analytical, comparative and typological plates, little by little, fragment by fragment, one distinguishes the articulations of the Genoese palace, and thus discovers an authentic unity of discourse ; it is possible to recognize a grammar and a language that serve eloquence and propriety.

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